After developing an addiction to the substance he uses to kill bugs, an exterminator accidentally murders his wife and becomes involved in a secret government plot being orchestrated by giant bugs in a port town in North Africa.
Basquiat tells the story of the meteoric rise of youthful artist Jean-Michel Basquiat. Starting out as a street artist, living in Thompkins Square Park in a cardboard box, Jean-Michel is "... See full summary »
Benicio Del Toro
Not an adaptation of beat writer William S. Burrough's novel but a mix of biography and an interpretation of his drug- induced writing processes combined with elements of his work in this paranoid fantasy about Bill Lee, a writer who accidentally shoots his wife, whose typewriter transforms into a cockroach and who becomes involved in a mysterious plot in North African port called Interzone. Wonderfully bizarre, not unlike Burrough's books. Written by
Keith Loh <email@example.com>
The movie is packed with characters based on real people and events from the life of Burroughs. Like Bill Lee, William S. Burroughs was an exterminator and drug addict who accidentally shot his wife during a drunken game of "William Tell." Joan Lee is based on Joan Vollmer, Burroughs' wife. Hank and Martin, Bill's fellow writers, are Jack Kerouac and Allen Ginsberg. Burroughs moved to a section of Tangier, Morocco, known as the "International Zone," hence "Interzone." Tom Frost is clearly based on Paul Bowles, and Kiki was in fact the name of a young man Burroughs had an affair with in Tangier, while writing "Naked Lunch." See more »
Themes: Substance addiction and how physically self-conscious it makes our protagonist feel, the creativity forced by imprisonment (a direct reference to real-life events between Burroughs, his wife, his subsequent incarceration and his heroin/acid issues), the sense of betrayal as more surprise than malice and of course the inevitable interface between Dave and Bill at the pelvic level.
The effects work is pre render-mation latex and sufficiently restrained to allow your imagination to back-fill the appropriate horror/fascination/titillation for the moment. Don't try to figure out which you =should= feel or to mentally sort it out, that'd rob you of the fun; it's the psychic and emotional disarray that makes it so compelling.
Peter Weller is suitably deadpan, allowing only a sparkle of the playful poet to shine through from time to time (the story about the Duke du Vantra's Espano-Suiza made me howl); he must have spent a few =fun= hours with Burroughs himself to get the role down.
If you liked Cronenburg's smarter stuff, such as Dead Ringers, you'll love this. If you've read Kerouac, Ginsberg or Burroughs in particular, I promise you'll love it. If you're not into exploratory literature, have issues with distasteful realities of poverty or have a personal affection for the quality works of Stallone, Willis and Schwarzenegger - you'll hate it.
It made a very strong impression on me; the day after I saw the opening night of Naked Lunch (long before the "internet"), I established and sysoped a BBS that was the primary alternative discussion forum for onliners in Edmonton, Alberta for several years. It's name? The Interzone.
The movie is fascinating, odd, reveals more on second viewing, and is faithful neither to Cronenburg nor Burroughs but an excellent mix of elements of both.
It has a great beat, easy to dance to... I give it an 89, Dick.
Either way, you won't look at a typewriter the same way ever again.
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